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2LP
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MO 008LP
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2021 repress. "James Yancey, better known as J Dilla was born in Detroit. His work as a producer has a defining role in hip hop. He produced hits for A Tribe Called Quest, De La Soul, Common, Erykah Badu and Janet Jackson. At 32 he passed away in Los Angeles in the care of his mother, Maureen 'Ma Dukes' Yancey of a lupus related illness. Miguel Atwood-Ferguson pays tribute to Dilla by interpreting his music for a 60-piece orchestra featuring special guests Bilal, Dwele, Posdnuos, Talib Kweli, Karriem Riggins and more. This premiere performance left many in the sold out crowd in tears. Part one of a three part series. Packaged in a beautiful 5-color gatefold jacket printed on brown chip board. Companion piece to the full-length DVD (MO 004DVD)."
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LP
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MARMO 008LP
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Since 2008 Düsseldorf-based producer and live wizard Stefan Schwander deeply concentrates on his always evolving electronic venture named Harmonious Thelonious. It besprinkles the world with fractional musical structures in the spirits of American minimal music, in order to immingle them with African rhythm patterns. Exceptional hypnotic opiates, enlarged with twisted harmonies and tricky rhythm archetypes, and all heavily danceable. After five magnetic albums for labels like Emotional Response and his old home base Italic as well as a highly-acclaimed string of EPs for in-demand platforms like Asafa, Diskant, Disk, Kontra-Muzik, Meakusma, The Trilogy Tapes or Versatile Records, he has now produced the arresting Petrolia LP for Marmo Music, a label that is itself not new to Harmonious Thelonious. On the label's second release he remixed Tru West on The DOWC Part 2 (2014); his "Sunset Liturgy" fingerprints are audible with a moving remix. Now he delivers six epic tunes that only partly dance the familiar Harmonious Thelonious dance. There are deep traces from Africa and Arabia, there is the polyrhythmic witchery that makes his music special, but in contrast his new tunes are more mental than his former ones. They have a menacing industrial feel but yet continue to be enlarged with the enchanting spirits of the land of the Sahara. Furthermore, there is a slight manic touch arising from nervous electronic and foremost organic melodies. The live-played jittering is coming from the Berlin-based experimental musician Ghazi Barakat, also known under monikers like Pharoah Chromium or Crème de Hassan for mind-shredding ambient, drone, experimental, noise, industrial, free jazz, and free improvisation music from beyond. For Harmonious Thelonious, Barakat, who also worked with Marmo Music artist Günther Schickert on the collaboration album OXTLR (2014), tuned his wind instruments, Rauschpfeife and Kangling in a elflock-stricken Master Musicians of Jajouka way. Instead of giving them a prominent lead position, however, Schwander deeply implements their tones into his propulsive creations to evoke a modern rhythmic meltdown of Occident versus Orient, exhaling a deeply absorbing soul. This a record whose psychedelic energy fits perfect into the Marmo Music cosmos, a world where the progressiveness of the 70's continue to live in the current to disband all white-bread musical norms for the energy of music without classes.
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LP
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COSMO 008LP
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Mika Vainio and Franck Vigroux's brutal yet filigree electronics hauntingly come to light in Ignis, which finally discloses the further, etheric results of recording sessions that made up their Peau Froide, Léger Soleil album in 2014, their celebrated previous collaboration for Cosmo Rhythmatic (COSMO 003CD/LP). Posthumously issued following Mika's untimely death in 2017, Ignis taps into the pair's mutual respect for unsound and proprioceptive allusion, operating at liminal levels of tonal and spatial perception in a six-track LP that leaves the project with a sense of unresolved tension. Since Mika Vainio's seminal Pan Sonic group with Ilpo Väisänen ceased service in 2009, Mika found one of his sharpest foils in French multi-instrumentalist Franck Vigroux. They embarked on a lengthy creative process, articulated through studio and live performances, resulting in the powerful Peau Froide, Léger Soleil album and stacks of further recordings planned for a second release. The end results of their efforts are collected on Ignis, a set of six parts paying tribute to a mutual fascination with what lies at and beyond the threshold of sonic comprehension. Where their previous effort traded in a mix of colossal, pendulous industrial funk and abyss-baiting doom, this follow-up fully embraces the void in all its glorious mystery. From a trail of icy bleeps, "Brume" lures you into cathedral-like ice cave dimensions with breathtaking cinematic effect, before the antechamber of "Ne Te Retourne Pas" highlights those supposed dimensions with streaks of phosphorescing light to much more paranoid, imposing degrees, before calving off into the mechanical jaws of "Luxure". Deep in the beast's mouth, Vigroux bleats a forlorn vocoder message on "Un Peu Après Le Soleil", and their "Luceat Lux" gives rise to their most extreme, dynamic frequency massages, for "Feux" to wrap up the trip in a barbed wire bouquet of ravishing distortion.
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